I will give a million to whoever...
ItalianGerry
One of the most appealing comedies of the Italian Fascist period was this fast-paced entry directed by Mario Camerini and starring matinée idol Vittorio De…
One of the most appealing comedies of the Italian Fascist period was this fast-paced entry directed by Mario Camerini and starring matinée idol Vittorio De Sica. Set in France, presumably to suggest a René Clair film or to hint that the forward-looking Italy of Mussolini didn't have poverty, it is about a poor man, Blim (Luigi Almirante) and a rich one appropriately named Gold (De Sica) who exchange roles after the rich guy rescues the down and out hobo from suicide. The guy looks somewhat like Michel Simon in Renoir's "Boudu Saved from Drowning." The wealthy man offers a million francs to anyone who will offer kindness to him
incognito in the garments of a poor man. This all generates a frenzy in the city as everyone goes out of their way to be nice to beggars and the down-and-out. Kindnesses are shown; dinners are served to the poor. No one is successful save the sincere and selfless young circus cashier Anna, played by the lovely Assia Noris. Besides suggesting René Clair, the movie has some of the same feel as the depression-era American movies "It Happened One Night" and "My Man Godfrey." And is quite a delight if you can see it. It got a very limited U.S.release in 1937, opening unsubtitled at the Broadway Cine-Roma. It was shown in the Museum of Modern Art's 1978 retrospective: "Before Neo-realism."
★ 6 / 10
Cinema Omnivore - I'll Give a Million (1935) 6.3/10
lasttimeisaw
"This rumor goes wild in the city, every respectable person starts to throw a bone to the poor around him or her, hoping to hit the jackpot, whereas the…
"This rumor goes wild in the city, every respectable person starts to throw a bone to the poor around him or her, hoping to hit the jackpot, whereas the millionaire, naturally, takes a shine to a nubile circus girl (Noris), trying to woo her as a bum. So it appears that Camerini attempts to mingle the haves and the have-nots, but such an idea doesn't comply with the fascist regime's values, and what makes this farce still relatable today is its hard-edged depiction of the haves' hypocrisy and cupidity, once the jackpot is revealed (although falsely), they attitude towards the poor takes a volte-face right on the spot, but Camerini doesn't do it ironically, he does it with a straight face, a matter-of-fact correctness implies it is the right thing to do, the gaping gap cannot be breached. What the poor can enjoy is a fling of joie de vivre in an amusement park, the smiles on their faces are indwelled. Is it the input of Cesare Zavattini, one of the co-screenwriters? It is his first screenplay, but most importantly, it marks the first contact between him and De Sica, soon Italian neorealism would be birthed by dint of their preeminent collaborations."
read my full review on my blog: Cinema Omnivore, thanks.
80%
AUDIENCE
6.9/10
292
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Excellent! Thank you so much!